Archive for the ‘> FLASH BACKS’ Category

The Mitch Ryder Show : Courtesy of George Shuba

March 14, 2015

In late 1966, Mitch Ryder broke with the Detroit Wheels and formed a 10-piece back-up band in the style of Wilson Pickett and others. This band, which included 5 musicians from working Baltimore bands, toured behind Mitch’s hit record, “Sock It To Me Baby” under the name emblazoned on the tour bus: “The Mitch Ryder Show.”

Ultimately, this was not a happy period for Ryder who suffered under the heavy production hand of star NY producer, Bob Crewe. Crewe gave the Michigan band their name (they were formerly Billy Lee & the Rivieras) and their access to Billboard’s Top 10 — “Jenny Take A Ride” made #10, “Little Latin Lupe Lu” hit #17, “Devil With A Blue Dress” his best at #4, and his final Top 10 entry with “Sock It To Me Baby” at #6 — but after roughly 2 years the ride was over for Ryder. This is how that period is described on the official Mitch Ryder website (

Divorced from the power drive of The Wheels, swamped by saccharine strings and pompous pretense (poetry by Rod McKuen and music by Jaques Brel on a Mitch Ryder album, for Chrissakes) … It was the final straw- Ryder bailed out of his contract with Crewe …

After the split, the liner notes on Ryder’s next album, “The Detroit-Memphis Experiment,” included phrases like …

“After being raped by the music machine that represents that heaven-on-earth , New York b/w Los Angeles” and “Mitch Ryder is the sole creation of William Levise, Jr.” [Ryder’s given name]

… leaving little doubt about his feelings over the Crewe experience.

Because of the short duration of this band and Mitch’s bitterness over where Bob Crewe took his career, there is very little untainted information about the band and very few photographic remnants floating around. That’s where George Shuba comes in.

George Shuba’s own website [] calls him “Cleveland, Ohio’s 1st Rock-N-Roll Photographer!”, and I don’t think there’s any doubt that he is one of the first anywhere—48 of George’s prints hang in the Rock & Roll Hall of Fame in Cleveland.

George began his rock photojournalism with his first assignment—the Beatles 1964 U.S. tour appearance in Cleveland. Over the next 20 years, through thousands of photographs, he documented virtually every act to appear at the Cleveland Arena, from Aerosmith to the Zombies. This just happened to include the April, 1967 appearance by The Mitch Ryder Show. The  photos here, courtesy of George, are the only ones I’ve ever seen of the entire band with all 5 Baltimore musicians. These photos are also posted on the BaltimoreJam website.

For anyone interested in the development of rock & roll and the emerging rock concert experience through this intensely creative period, the professional photos of George Shuba are priceless. They capture the spontaneity of these performers better than any album cover, publicity shot or concert snap shot you’ve ever seen. Many of his photos are available directly from George through his website and eBay store. Here are links to George and his work:

Photo #1:
The Mitch Ryder Show, Cleveland Arena, OH – April 1967

The Mitch Ryder Show, Cleveland Arena, OH - April 1967

L to R: Jimmy Wilson (trumpet), Andy Dio (trumpet), Chuck Alder (bass), Don Lehnhoff (trombone), Mike Maniscalco (guitar), Bob Shipley (tenor sax), Mitch Ryder (vocals), Jimmy Loomis (tenor sax)

Photo #2:
The Mitch Ryder Show, Cleveland Arena, OH – April 1967

The Mitch Ryder Show, Cleveland Arena, OH - April 1967

L to R: Jimmy Wilson (trumpet), Andy Dio (trumpet), Don Lehnhoff (trombone), Chuck Alder (bass), John Siomis (drums), Frank Invernizzi (organ), Mitch Ryder (vocals), Bob Shipley (tenor sax), 1/2 Jimmy Loomis (tenor sax)

Photo #3:
The Mitch Ryder Show, Cleveland Arena, OH – April 1967

The Mitch Ryder Show, Cleveland Arena, OH - April 1967

L to R: Don Lehnhoff (trombone), Andy Dio (trumpet), Mitch Ryder (vocals), Chuck Alder (bass), Frank Invernizzi (organ), John Siomis (drums), Mike Maniscalco (guitar), Jimmy Loomis (tenor sax)




Buddy Deane Remembered in the UK

November 9, 2014

Back in July we were contacted by Ian Whent. a writer for the popular British music magazine, Mojo. He was doing research for a story on Buddy Dean and in the process had come across and our page on Deane. In addition to the information on our site, I referred him to John Sankonis who I was sure would have more detailed info, unpublished recollections and possibly some unseen photos. The resulting article came out in the October issue of Mojo and it’s a great capsule story of the show, it’s origin and impact, and eventual demise.

I’m posting the article here with the assumption that Mr. Whent won’t mind. It’s one small story in a magazine packed with great stuff including the final interview with the late Johnny Winter, Smokey Robinson’s take on how to write a soul classic, and a great tour of New Orleans, past and present, conducted by the Night Tripper himself, Dr. John, a.k.a. Mac Rebennack. There are also stories on Queen, the Kinks, Kate Bush and much more … a pretty cool magazine.

Mojo, Buddy Deane Article, page 1


Mojo, Buddy Deane Article, page 2

The End of an Era

September 24, 2013

Volkswagen announces it will stop production of the VW Bus, first introduced in 1950 and the 2nd VW model produced after the Beetle. Brazil is the last remaining producer of the VW Bus, and that country’s impending requirements for air bags and anti-lock brakes in new vehicles has prompted the company to discontinue, rather than upgrade, the classic “hippie van.”

If you ever owned one, you know why this is sad. If you are of a certain age, this news just made you feel a little older.

VW Microbus

VW blueprint

VW Woodstock

Too Good to be True

March 13, 2011

I was playing with the band “Touch” on the boardwalk near 7th street in Ocean City during the summer of 1973. The other members in “Touch” were “Bungalow”  Bill Davis on keyboards, Walt Bailey on guitar, and on drums and lead vocals, switching off as needed or desired, were “Raunchy” Rick Peters and Trudy Cooper.

My sister ( Ida) was down at the ocean during this particular week and, as we lay in the sand getting a tan one day, she says to me, “Donna likes somebody in your band.  Guess who”?  Before we go further, I had better introduce you to Donna.  Donna was a beautiful Greek girl wilh hair below her waist and a face and body like a Grecian goddess.  If she wasn’t the most beautiful girl in Ocean City that week, then she was tied for first place with whomever else qualified.

Getting back to my sister’s question, I replied without hesitation, “Well, Ida, you had better tell Donna to get in line behind all of the other women in Ocean City for a shot at Raunchy Rick because EVERY female in this town is head-over-heels in love with him”.  “It’s not Raunch,” Ida told me.  “Well”,  I said, “I’ll let Bungalow Bill know”.  I said this because whichever chicks Raunchy Rich rejected, ALWAYS went with Bungalow.  Walt and I usually ended up unwilling bachelors, or monks so to speak.  “It’s not Bungalow either”, said my sister. I gave her a hard stare.  “OK Ida, lets have it NOW!”  Ida smiled and said, “Yep – it’s you Sam”.

I was stunned!  Donna, the Greek goddess was attracted to me!  I could hardy beelieve my luck, but I wasn’t a fool.  I acted immediately, found Donna and took her to dinner before the gig.  After the gig we went back to my rented room at the Majestic on 7th street  and had an incredibilly romantic night.  Things couldn’t have been better.  The next morning we woke up and went down to breakfast.  Still not beieveing my incredible luck, I found myself staring at her, from the tips of her toes, to the top of her beautiful black hair and down again to her georgeous (uh-oh) YELLOW EYES!!!!!

I told her what I was seeing, she looked in a mirror to confirm what I had told her and we bolted to the Ocean City clinic.  As I suspected, her blood tests revealed Hepatitus B but luckily, mine were clean.  While she was rushed to GMBC in Towson (via ambulance) and quarantined, I had two very painful hemoblobin shots, (one in each butt cheek) as a vaccine and limped around that day.  I never saw her after that and never dated anyone that attractive again, EVER.  Looking back, I guess it was a freak accident of sorts, as if the universe made a mistake, noticed it’s mistake and corrected it immediately!.  One thing is for sure – the whole time, underneath it all, I was feeling that it was too good to be true anyhow!

“Raunchy” Rick aand Trudy Cooper at Woodstock

Raunch, rest in peace

One Lifetime Dream Come True (pt.3)

September 7, 2010

This is the final installment in Dan Trinter’s reflections of a Las Vegas musician from Baltimore.

Las Vegas in the 90‘s – Life as a Union President

1989 produced a huge strike between Musicians and the Hotels.  Almost a year later the Hotels replaced over 700 showroom musicians with taped music.   A major tragedy!!  In 1992, three hundred of the best players in Vegas drafted me to serve as President of the Musicians Union.  For the next eight years I was the President of Local 369 of the American Federation of Musicians.   I worked on every possible problem musicians run into, administered tons of therapy for lots of musicians that had never before been unemployed, and in general worked to salvage what jobs still existed for players.

During those years I dealt with a bunch of good stuff and even more bad stuff.  In the end the Hotels collectively decimated the old Las Vegas Entertainment scene.  They started charging higher prices for shows that were accompanied by pre-recorded tracks.   Musicians in “The Entertainment Capital of the World” were reduced to weekend gigs and weddings.

Dan in Las Vegas in the 21st Century

In 2000 my service at the Union ended.  (It was kind of a relief for me.)  I tried early retirement, but after a few years I got a call from Wayne Newton to finish off a 3 year contract at the Stardust Hotel.  (I had authored that contract for him when I was Local 369 President!) I took it.

In 2007 Terry Fator won the million dollar prize from “America’s Got Talent” and came to Las Vegas to try to get a showroom gig.  Terry Fator’s talent is awesome and quite evident.  Lucky me, I got the call to be a part of his band.!

We worked 3 days a month at the Las Vegas Hilton for about a year, ending when Terry landed a full time gig at the Mirage Hotel: one show a night, five days a week, for five years with a five year renewal option. I am currently 1 ½ years into that Mirage deal, enjoying playing my horn as always.  Sweet!!

There’s an old story about Dan that I heard 2nd hand. It starts with Dan being asked by a casino manager why they paid him so much as a musician and band leader. In response, Dan grabbed the lead trumpet part off the stand and, while both sight reading and transposing the trumpet music, played it flawlessly … up an octave! “That’s why.” was Dan’s answer.

I thought it would be good to conclude this musician’s tale with a sample of Dan’s playing. He sent me this little clip back when we first started doing the Jams. It’s just Dan in his basement, with a few electronic friends, playing a trombone solo of the great Ray Charles (and later Joe Cocker) hit “Sticks and Stones.”

click bar

"Sticks & Stones" — Dan Trinter, trombone

One Lifetime Dream Come True (pt.2)

August 15, 2010

Remembrances of Dan Trinter …

How I went to Las Vegas

I had almost quit Si Zentner’s band.  I contemplated a return to Baltimore, or continuing with Zentner band.  Instead, my wife and I jumped off the band bus and moved to Las Vegas.    .

Las Vegas in the 60’s, 70,s and 80,s

Las Vegas in the middle sixties was just beginning to flourish.  The State Gaming Comission required Hotels to stay open 24 hours a day, maintain a Headline Showroom and offer Lounge entertainment 24 hours a day!  The Musicians Union was very strong and  very active.  Lots of work!

The day we arrived  we both joined the Las Vegas Musicians Union, Local 369.   Strings were in strong demand that summer.  My wife, a violinist, started getting calls to work the day we arrived I went to work within two weeks. We both got to play with all sorts of Musical Heroes that had settled in town.

By 1970 the Culinary Workers, Stagehands, and Musicians Unions united to negotiate a beautiful contract providing employees Job Security, Health Benefits, Vacation pay, Overtime pay, Rehearsal pay, and Pension benefits. SWEET!!!!   There was still a huge shortage of players – some musicians were working two or even three jobs a night!

For the next thirty years I enjoyed playing in the showrooms behind every big star imaginable: (Jimmy Durante, Jack Benny, Mel Tillis, Phyllis Diller, Bob Newhart, Tony Bennett, Barbara Eden, Danny Thomas, Bob Goulet, Fifth Dimension, Bernadette Peters, Marlene Deitrich, Lena Horne, Paul Anka, Trini Lopez, Julie London,  Jackson Five, Leo Sayer, Bobby Gentry, Jimmy Dean, Frank Sinatra, Sammy Davis Jr…, and all of the other Vegas Headliners – just about all the big stars!).   Broadway?  I played Fiddler on the Roof, Promises, Promises, 42nd Street, Chorus Line… my brain cells cannot retrieve them all!  I played all of the big French Production Shows (Lido, Casino de Paris, Follies Bergere… usually with casts of over a hundred beautiful, mostly naked, women.  It was a really lucrative time for all ‘Vegas Musicians.  The Unions maintained all of the contracts and negotiated yearly raises and improvements in our work conditions.  Thanks AFM!

Dan Trinter

Dan Trinter

One Lifetime Dream Come True (pt.1)

August 2, 2010

Dan Trinter is a fine man and a mighty fine musician. We played trombone together at Parkville High School, went to the Peabody Conservatory together, and drank beer at Loch Raven together. He was a working Baltimore musician in the ’60s, a working Las Vegas musician and band leader in the ’60s, ’70s and ’80s,  and President of the Las Vegas local of the American Federation of Musicians in the ’90s. In 2007 he joined Terry Fator’s band at the Las Vegas Hilton and currently works for Fator at the Mirage.

When Jere Stermer sent me his old Musicians Union Statement a while back I got to thinking about the union and working musicians, and that got me thinking about Dan. He agreed to write some of his remembrances and reflections from his unique perspective for posting here. What follows is Part 1 … with thanks to Dan Trinter.

How I joined the Union

I grew up in Baltimore, surrounded by many really talented musicians.  I knew guys from bands like the Poker Chips, the Majestics, Mello-Men, the Del Monicos, the Dynamics, the Echoes, and plenty of other bands.  By the time I entered High School I had decided to try to make it as a professional musician. (Thanks to Ivan Bowser, Ray Otten, and John Melick!)

In 1963 Hank Levy invited a few of us (Don Lehnhoff, Don Barto, Randy Fillmore, me and some others) to rehearse with his Kenton-style Big Band.   Hank had a concert booked for a Baltimore Jazz Club (The Eastwind?).  We knew little about the Musicians Union, but felt we should join as part of the Hank Levy experience, so we all went to Local 40 on N. Eutaw Street to sign up.

Victor Fuentealba, Local 40 President ushered us into his office, conducted a polite interview with us, then ceremoniously signed us up as members of Local 40 congratulating us for being proficient enough to play with Hank Levy.

I later learned that there may have been an age requirement that Victor “waived” for us to become members. Vic later served as President of the AFM from 1978 to 1987.

Thanks, Vic!

Dan Trinter

How I turned “Professional”

In 1966, I got a call to go on the road with Si Zentner’s big band.  Si was a famous trombone player with about 10 Gold Records, his most recent being “Up A Lazy River.” Brent Price,  one of the Hank Levy guys, was playing lead trumpet for Si and recommended me when an opening came up.   Thanks, Brent!

About ten months later the Draft Board caught up with me and demanded that I get a physical exam.  They needed me to fight in Viet Nam!  I made an appointment for my Army physical during a 5 day booking in Salt Lake City.  I planned to take my physical, quickly leave the band, return to Baltimore and try to join one of the Army Bands before they could put a rifle in my hands.

COLOR BLIND!!!  I was rejected by the Army because I could not distinguish colors to their satisfaction!  Sweet!!!

A Kind Man

June 27, 2010

I was backing up The Platters at Hollywood Park on Thanksgiving night in 1965.  My father had died that morning.  I could have taken the night off, but since my mother was already gone, I didn’t want to be alone in that big house so I made the gig.  Herbie (Herb Reed), the Platter’s bass singer, noticed that I was acting strange and asked me about it.  I told him of my father’s death that day and he ended up taking me back into the kitchen part of the Park and talking with me until I had to go up and play again – almost an hour.  I have never forgotten him for that kindness to, what to him, could easily have been just  an obscure 19 year old boy.

The Platters

Herbie is on the far right

The Nomads – Original Personnel and how the group changed

March 7, 2010

Here are some remembrances of  how the Nomads first got started and evolved— starting with the original founding members and recollections as to how things started.  An interesting bit of information about the Nomads is when they formed – in 1958.  This is a few years earlier than the beginning of most of our Baltimore Jam groups with the notable exceptions of The Tilters, The LaFayettes and the Admirals.

Gary Rusinovich (drums), Roland Gannon (guitar), Bill Barladge (guitar) and Elwood “Woody” Schneider (bass) first started the group. (Elwood now goes exclusively by the nickname “Woody”).  It was originally Roland’s idea to have a band.  He knew some musicians who had a band and he wanted to start one too, and Gary, Bill and Woody went along with the idea.

Gary adds…

“We started when Jerry Berran brought drums to one of our parties. Roland and Ellwood were at the party and had their guitars with them. Jerry was more interested in the girls than playing, so I ended up playing his drums. That’s how I got started playing and hooked up with Elwood & Roland at the same time.”

The group rehearsed at Gary’s house, close to the corner of Loch Raven Blvd and Cold Spring Lane.  It was a semi-detached corner brick house.  The actual address was 1358 Crofton Road.  An alley ran to the side of the house making it convenient to enter the basement from the side, allowing us to get our equipment inside without trudging up and down stairs. The area was just North of Cold Spring Lane and was sometimes referred to as New Northwood.  It was about a mile north of the Northwood shopping center.

Gary remembers the rest of the addresses or neighborhoods and a couple of memories:

“Roland (RIP) lived on Kernwood Ave, in the 2nd or 3rd house from the corner of Old Cold Spring Lane one block past York Road –  that’s either Waverly or Govans.  Kernwood Ave. was one of those narrow Baltimore streets that allowed parking on both sides.  Ellwood lived on Falkirk Ave. off of Loch Raven Blvd. north of Belvedere Ave.  Bill Barledge, who started with us but soon left the group, lived near Woody.  Tom lived on Townsend Ave in Brooklyn.  Earl lived in Waverly, but I’m not sure of any of the addresses. Harvey Phillips lived in west Baltimore in the Pimlico area.  I’m not sure of his street name though.

“John Zaucha lived on Doris Ave. in Brooklyn Park as did Tom Fischer but once again I’m not sure of the street names. (I always teased John & Tom calling the area “God’s Little Acre.”  I always liked the area because pinball machines paying out in the front of the machine were legal. We played them often together).  Dan lived near the WJZ tower but I can’t remember the area or street.  Phil lived in Hamden, across from the Noxema plant, at the bottom of a hill near the Florence Crittenton home for girls. (We played at his place one summer day and Earl sang ‘Annie Had A Baby’ – Tasteless Youth!)  As I remember, Ed’s father would not let him play at Buddy’s Subway – our first nightclub stint.  That’s when Butch Wagner walked up one night & asked if he could blow his horn with us, which gave us our first taste of a good old B-flat progression.  That, in turn, tied us in with Tom Fischer & John Z later.  We took off as a good solid group after that experience.”

Woody recalls…

“Bill played guitar and I believe later on he was replaced with Tom Fischer on piano. When we first started out we were all playing  cheap Sears Silvertone guitars. I was playing bass on guitar.  A friend of Roland’s, we’ll call him Jim, went to Ted’s on Central Street (memories) and rented a Fender bass to let me use for as long as I wanted. What he did was rented the bass in a fake name and address so he didn’t even pay rent.  I never knew this the entire time I played that particular bass.”

The 5th member to join the Nomads was Earl French, a singer who was also a drummer.  Recently Earl and Woody had a phone conversation about the order of members joining and leaving the group and here is what they mutually agreed upon:

  1. First there was Bill Barladge, Gary Rusinovich, Roland Gannon and Woody Schneider (Elwood then).
  2. We were called the Trojans then but Gary’s brother called us the rubber band and we changed our name to the Nomads because Earl’s dad had a Chevy Nomad (station wagon).
  3. We then got Earl French from Bobby Day and the Playboys. Earl played drums and was a singer, and we needed a singer.
  4. Bill Barladge left and we got Tom Fischer playing the Wurlitzer piano and Tom can still do What’d I Say to a tee.
  5. We stole Harvey Phillips, sax, from Dick Phillips’s band.
  6. We then added Ed Hall, sax, for a total of 2 saxes.
  7. Harvey Phillips left and we added Phil Correlli on sax.
  8. Tom Fischer then left and Danny Fitez joined on keys. This was the Nomads for a long while.
  9. Phil left and we added John Zaucha.

Earl and Woody didn’t have dates for these changes but are fairly sure of the order.  Ed Hall however, begs to differ on one point.  In an email to Woody he states:

“Woody, Bill Barladge was gone before I got there and I was there before Tom Fischer.  I never new Bill.”

Woody remembers –

“The Nomads first paying gig was at Lieth Walk school outside on the playground bazzar. Roland got a Gibson 400 amp from Fred Walkers. It was a big amp at the time. I think we got $10 each.  That first gig was scary for us.  We were only about 15 years old at the time”.

Ed Hall, tenor sax with the Nomads recalls the order that the horns were added and left:

“I joined the Nomads after they were together approximately 6 months.  Harvey Phillips was the 1st horn…I was the second and stayed with the group until the breakup.  To my knowledge, the way I remember, the Nomads were together a total of 6 1/2 years.  When I joined the group there was no keyboard…The Nomads consisted of Gary, Earl, Roland, Elwood and Harvey.  Then I joined and next was Tom on keys.”

Woody adds in a note to Ed:

“I forgot about Butch. The Nomads let Phil go to hire John. This I do remember because it was very hard and disturbing to do. As far as why Bill left the band, it must have been because he didn’t hang out with us.  He was a bit older and relatively new on guitar.”

So, it looks like the sax players in order were:

  1. Harvey Phillips
  2. Ed Hall
  3. Butch Wagner
  4. Phil Correlli
  5. John Zaucha

I think we were together for about 6 or 7 years.

Tom Fischer puts his two-cents worth in:

“I was brought into the group circa late 1960/early 1961. In the group at that time were Gary (Drums), Roland (Guitar), Ed (Sax), Earl (Singer), Elwood (Bass) and John ‘Butch’ Wagner (Sax).  Butch and I had been in another group for a short time. Butch left that group to join you guys and then quickly introduced me into the group as I believe you had not had a piano before then. Butch played with us for a short time and then decided to move on again.   When Butch left, I introduced John Zaucha (Sax) to the guys.  John and I grew up together in Brooklyn and had also played earlier in two other groups prior to the NOMADS.  We all then were together until I joined the Military in March 1962 and was replaced by Danny Fitez. I think Phil subsequently replaced John as the second Sax sometime after I left.”

And now, the end of the Nomads as recalled by Woody Schneider and Earl French

“The two main reasons we broke up were our popularity and the fact that we were only fifteen years old when we formed the group.  The phone at Gary’s house was always ringing and Gary was the one who booked us and did contracts. Gary’s mom would relay messages. Gary was spending way too much time doing all this (teenage years) and got tired of doing it all himself and we decided to call it quits.  As we remember, it was a disappointment but nothing earth shattering. I guess we didn’t realize all the work involved then. Seven years is a long time when you’re that young. We were in our early to mid 20’s and I guess it was time for something new.”

The Nomads at a Memorial Day, 2009 Reunion
Left to right standing – Tom, Ed, Phil, Gary, Dan and Earl
Left to right kneeling – Roland and Woody

To end this post we again offer this beautiful poem, written by Gary’s wife Sharon about the Nomads so long ago.


How I remember the Boys in the Band:

Gary-drums, my heart beat faster just walking past his house. Married him 46 years ago.

Ellwood-looked like a young Elvis, we shared the same last name

Roland-lead guitar, cute and funny, thoughtful and mysterious

Earl-loved watching him perform

Harvey-sax, nice smile, married Margie, had a baby girl, left the band

Ed-great sax, just as important, the first to have his driver’s license

John Z-sax, in and out of the Nomads twice, a dear friend for many years post-Nomads

Tom-keyboard, dreamy eyes, all the girls compared him to Ricky Nelson only better.

Danny-keyboard, introduced the Nomads to the Organo, so nice I figured if I named our younger son Daniel he would be nice too

Phil-sax, in and out of the Nomads twice, Muscle Man

Last but far from least, Gary’s mother Mary. The band practiced in her basement every week.  The vibration was known to knock things off the living room walls.  She was chauffer and chaperone, supporter and fan. Tom and Danny were often asked to, “Play Misty for  Me”.  Those were wonderful years for her, the band, and me too.


The Nomads – On the Gig

February 10, 2010

In this section of my “Nomads” tale I had inteneded to  take you through how the band got together.  Information on their beginning is still coming in from the band members, so in the mean time let’s post a couple of stories about Nomads gigs.

This first story is a remembrance from the Nomads bass player, Elwood “Woody” Schneider.

We were in Chambersburg, PA, and were playing our set before backing the Crystals,  famous recording artists at the time. We were set up on about a four-foot high platform. It was made only of wood (not very solid) and the backdrop was a parachute in back of the platform. We were into a song when suddenly there were no drums!   We looked back and there was no drummer. Gary and his drum seat “throne” had fallen off the back of the platform which had suddenly collapsed. Thank God for the parachute behind the stage which saved Gary from seroius injury! Gary played the rest of the night. I can’t imagine the horror in Gary’s mind when he was on the way down.

Gary Rusinovich, the Nomads drummer, adds a New Years Eve memory.

One  New Years eve, we did a gig at the Jewish Synagogue on Garrison Blvd. I remember nibbling a lot of pepperoni that night. We started our set that would take us out of the old year and into the new. About 11:45  I got major stomach cramps.  By 11:50 I was in big trouble!  I handed off my sticks to our lead singer Earl (also a drummer) like a quarterback to his fullback & went full speed to the men’s room. The rest of the group played an instrumental with Earl on drums. I made it ! I got back at 11:57, just in time to play Auld Lang Syne. It was a memorable night, but if I hadn’t made it to the men’s room, it would have been even more memorable!

Woody & Gary